Buscar:july z

The Grace EPs by legendary singer-songwriter Jeff Buckley, is a 19-track, five x EP box set, comprising the following EPs: 'Peyote Radio Theatre' July 1994, 'Last Goodbye' January 1995, 'So Real' [June 1995], 'Live From The Bataclan' [October 1995] and 'The Grace EP' [February 1996],

This unique package contains all five twelve inch vinyl records each in their own full colour jacket, a double sided full colour insert with extensive liner notes, all carefully packed in a heavyweight leather laminate textured 15mm-spined outer sleeve.

The five discs that make up the Grace EPs box-set are a collection of live performances, B-sides and studio versions from songs that originally appeared on Buckley's "Grace" album.

Peyote Radio Theatre and So Real were promotional-only releases that weren't commercially available. The others are rare imports: Live from the Bataclan came out in France, The Grace EP in Australia, and Last Goodbye in Japan,

This EP set features "Last Goodbye", "Grace", "So Real" and two amazing live versions of his classic hits "Hallelujah" & "Mojo Pin".

The Grace EPs also features a whopping 12-minute version of Van Morrison's "The Way Young Lovers Do," a medley of "Je N'En Connais Pas la Fin/Hymne A l'Amour," Hank Williams's "Lost Highway," and a 14-minute take on Alex Chilton's "Kanga-Roo."
Finally there is a bonus track added to the The Grace EP; "Tongue," a spooky ambient 11-minute studio instrumental.

After traveling through Mexico, Miami, the Bahamas, and New Orleans, Nishioka recorded his fourth album South American Journey in Los Angeles,
released in 1979. From this album, two of his most celebrated tracks—“GYPSY SONG”, a fan favorite with numerous cover versions, and “NEVER LAND”,
featuring the distinctive sound of steel pans and a Japanese reggae vibe are now being pressed on 7-inch vinyl for the first time in a limited edition!

The recording features members of the So What Review band, including Junshi Yamagishi (guitar) and Osamu Ishida (guitar), along with renowned steel pan
player Robert Greenidge, known for collaborations with Van Dyke Parks and Taj Mahal.
(FLATT THE LAIDBACK)

Kyozo Nishioka Profile
(Born May 7, 1948 – Died April 3, 1999)
Singer songwriter from the Shima Peninsula in Mie Prefecture, affectionately nicknamed “Zo-san”.
After enrolling at Kinki University and moving to Osaka, Nishioka became a regular at the folk cafe Dylan in Namba, opened in August 1969 by Masaji Otsuka
and Yoko Ishimura. Dylan was a gathering spot for folk music enthusiasts from all over Japan.
Nishioka formed the folk group The Dylan with Masaji Otsuka and You Nagai, performing at folk camps and the Nakatsugawa Folk Jamboree. In 1971, Nishioka
left the group, and Otsuka and Nagai continued as The Dylan II. Nishioka wrote and composed the song “Puka Puka” under the pen name Zokyozo, which became
one of his signature works. The song was first released in July 1971 as the B-side of The Dylan II’s single “Otoko rashii tte Wakarukai” on URC Records.
Nishioka began his solo career, releasing his debut album “Dylan nite” in July 1972, produced by Kinji Yoshino on Bellwood Records, which included his own
version of “Puka Puka”. In September 1973, he appeared at the farewell concert of Happy End titled CITY – LAST TIME AROUND at Bunkyo Public Hall in Tokyo.
His 1974 album “Machiyuki Murayuki” was produced by Haruomi Hosono, and his 1975 album “Rokka My Baby” featured support from Shigeru Suzuki’s band
HUCKLE BACK. Nishioka recorded three albums under Hosono’s production, deepening their friendship.
Together with his wife and lyricist KURO, Nishioka wrote songs for artists such as Eikichi Yazawa. The couple traveled the world, recording overseas albums such
as “Nanbei Ryoko” (1977), “Yoh-Sollo” (1979), and “New York to Jamaica” (1981), incorporating reggae, calypso, and other global sounds. In the 1980s, he released
works under the duo name KYOZO & BUN with Yoshifumi Okajima, and in the 1990s returned to solo projects with albums like “START” (1993) and “Farewell
Song” (1997).
After KURO’s passing in 1997, Nishioka continued his musical activities until his own death in 1999 at the age of 50. His music transcended the boundaries of folk,
blending jazz and tropical elements to create a unique world view, leaving an indelible mark on Japanese music history.

There's one thing that everyone readily agrees on: Live concerts are the icing on the cake for musicians and fans alike. Every show is a very special experience and sometimes even creates an almost magical performance. Such moments are beyond explanation, you just have to be there to believe it or, in a best-case scenario, have them recorded for posterity – as American metal act Prong have done with their latest live album. Which is exactly what guitarist/vocalist Tommy Victor and bandmates Christopher Dean (bass) and Tyler Joseph (drums) have achieved on ‘Live And Uncleansed’: Recorded over seven nights in July and August 2025, they are now ready to present eleven powerful live songs (plus three live bonus tracks), all pure and unadulterated, authentic and honest, which is the reason why the result is so incredibly captivating.

DJ support – Jamie Jones, Seth Troxler Damian Lazarus, Marco Corola, Joseph Capriati, The Martinez Brothers and Rey Colino

S.A.M. returns to Up The Stuss this summer with the third release in the UTSOFF series, delivering a potent double-header that’s been rattling dancefl oors for months. Titled ‘Hit You With My Phone’, the release arrives on 4th July and features two dynamic cuts that further cement the Danish talent’s place in the label’s core family.

A mainstay in Chris Stussy’s recent sets and one of the most talked-about IDs in recent months, title track ‘Hit You With My Phone’ is pure dancefloor dynamite — a helter-skelter ride through organised chaos, laced with warped vocals, frenetic percussion and a relentless groove that grabs you and doesn’t let go. It’s bold, it’s unpredictable, and it’s quickly become one of the most commanding tracks in the Dutch label boss’s arsenal.

On the flip, ‘Got Me Down’ offers a skippy contrast — a low-slung groover that channels tension and release with tightly wound drums and rolling bass, keeping things locked for deeper moments on the floor.

Marking S.A.M.’s third outing on Up The Stuss following their collaborative ‘Get Together’ project with Stussy and the solo ‘Check It Out’ EP, ‘Hit You With My Phone’ sees them explore new ground while staying true to the raw, club-focused ethos of the label. As the UTSOFF series continues to shine a light on uncompromising, forward-facing club music, this latest instalment delivers two cuts built for impact and ready to cause damage.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 11

A1) Paul Kalkbrenner - No Goodbye (2019)

Berlin techno producer Paul Kalkbrenner became world-famous with his 2008 hit Sky & Sand. Since then, he has released one record after another and performed all over the world in the biggest venues and at the most renowned festivals. No Goodbye is one of his more recent hits, released in the summer of 2019.

The track was created using an a cappella he received on a demo tape while on tour. He was immediately inspired by the vocal and built his own sound and production around it. Interestingly, Kalkbrenner rarely uses vocals, but for No Goodbye he collaborated with Australian singer Chiara Hunter, giving the track a unique and instantly recognisable character. The result is a stylish, dance-floor-friendly track with a rolling house groove that quickly became a modern classic on dance floors worldwide.

A2) Water World - Give Me Love (2000)

This trance classic by Water World appeared in 2000 on the French label Adequat Records and is the perfect tune for a sunny summer evening. Warm melodies and pulsing beats instantly create that beach feeling, as if you were dancing with your feet in the sand. The record recalls Beachball by Nalin & Kane, sharing the same dreamy, sun-drenched vibe.

Behind Water World were producers Laurent David and Frédéric De Backer-names well known to many trance fans. In the nineties De Backer was active with projects such as Global Trance Mission (Dream Mission) and Y-Traxx, the trio that released the 1997 classic Mystery Land.

Give Me Love clearly bears their combined signature: euphoric, warm and melodic, with a timeless build that perfectly balances emotion and energy. The track was released on vinyl as part of Trance E.P. Vol. 01 and remains a fixture in retro-trance sets to this day.

B1) Panoramic - Colors (1996)

Colors by Panoramic is a Belgian trance classic released in 1996 on the legendary label XTC Records, a sub-label of Bonzai Records. Panoramic was a collaboration between Belgian techno icon Marco Bailey and Mauro Mirisola. The duo, also known under playful aliases such as The Coke Man & Sniff, released an EP featuring two powerful trance tracks.

We chose Colors, a tune with pure Belgian trance DNA: driving rhythm, dreamy synths and a catchy female vocal. The combination of Bailey's production expertise and Mirisola's creative touch resulted in a timeless track that still appears in many classic playlists.

B2) Natasha Bedingfield - Pocketful Of Sunshine (StoneBridge Club Remix) (2008)

British singer-songwriter Natasha Bedingfield released the album Pocketful of Sunshine in 2008, featuring the title track as a single. The original pop version became a major hit in North America, reaching the Top 5 in the US. Swedish DJ and producer StoneBridge (Sten Hallström) reworked the song into a groovy house version, released in the summer of 2008.

StoneBridge gave the upbeat pop tune a club-ready beat and an infectious piano riff that made it shine on dance floors worldwide. It was not his first time transforming pop into house gold-he had already achieved global fame with his remix of Robin S - Show Me Love (1992), one of the greatest house anthems of all time. He also remixed Sia - The Girl You Lost to Cocaine in 2008, another club favourite.

The StoneBridge Club Remix of Pocketful of Sunshine appeared on a special remix EP in July 2008 and was played endlessly in clubs-by us too, in the venues where we performed. The result is a timeless, sun-soaked house classic thatmakes sitting still impossible.

C1) Y-Traxx - Mystery Land (Fred Baker vs Mr Sam's Magical Mystery Dub Mix) (original release 1995)

Y-Traxx was a nineties trance project by DJs Laurent David and Fred Baker. This trance classic first appeared in 1995 as a B-side but gained real attention when it featured on a Paul Oakenfold mix album. Thanks to that success it received an official re-release in 1998 on the respected French label FFRR (Full Frequency Range Recordings).

In 2003 an excellent remix by Mr. Sam & Fred Baker followed on the Nebula label. That version is highly sought after on vinyl by trance collectors, and we are proud to feature it on our new sampler.

C2) Weiss - Feel My Needs (2018)

Feel My Needs by British producer Weiss (alias Richard Dinsdale) is the tune with that unmistakable old-school piano and catchy vocal that instantly pulls you onto the dance floor. Released in May 2018on the UK label Toolroom Records, the track is pure feel-good house with a modern touch. From the very first piano riff, hands go up in the air.

Toolroom even called it a "future anthem" for the summer of 2018, and indeed Feel My Needs became a huge floor-filler. The record charted high on global dance lists and gained massive popularity at festivals and clubs that year. With its warm piano chords, tight beat and soulful vocal, this is a modern house classic that will stay in the collective club memory for a long time.

D1) The Killers - Mr. Brightside (Jacques Lu Cont's Thin White Duke Mix) (2005)

American band The Killers formed in 2001 and scored a massive hit a few years later with Mr Brightside. Taken from their debut album Hot Fuss (2004), it became their biggest and best-known track-a true rock-pop anthem.

In 2005 the song was given an electronic twist when renowned producer and remixer Jacques Lu Cont (the alias of Stuart Price) created an eight-minute dance version titled Mr Brightside (Jacques Lu Cont's Thin White Duke Mix). This remix replaced the raw rock energy with a more progressive and electronic vibe, driven by a steady beat and long build-up.

The track found a second life in club culture and quickly became a dance-floor favourite. For vinyl collectors it was an instant must-have, and to this day it stands as the perfect party closer. The Killers themselves loved it so much that they often used the remix live as an outro, followed by the original version. A remix that perfectly bridged rock and club culture-and has since become a genuine classic.

D2) Sia - Drink To Get Drunk (Different Gear Remix) (2001)

The legendary ice-cube sleeve says it all: Drink to Get Drunk was a huge club hit in the early 2000s. Released in 2001 on the UK label INCredible, a sub-label of Sony Music, it was a collaboration between British DJ duo DifferentGear (Gino Scaletti & Quinn Whalley) and singer Sia.

The producers took Sia's original song Drink to Get Drunk from her album Healing Is Difficult and gave it a complete transformation, keeping her distinctive vocal and placing it over a hypnotic progressive-house groove.

The combination of Sia's unmistakable voice and the deep, driving production hit hard: the track became hugely popular in Belgian clubs and turned into an anthem of its time. In Belgium it even reached number one in the dance chart in early 2001, and it also performed strongly in the UK and the Netherlands.

To this day it remains a nostalgic crowd-pleaser that perfectly captures the atmosphere of the early 2000s.

Horse Jumper of Love ist eine amerikanische Rockband aus Boston, Massachusetts. Horse Jumper of Love hat 2016 ihr erstes selbstbetiteltes Studioalbum rausgebracht.

With `The devil's door' And Also The Trees, one true original Post-Punk/New Wave band, presents a quiet storm of an album. At times filmic, poetic and intense with an undercurrent of dark psychedelia. It completes a trilogy of works `The Bone Carver', `Mother-of-pearl Moon' and now `The devil's door' created by the current line-up. Here there are signature `And also the trees' poetic lyrics, orchestral guitar and soundtrack influenced songs inspired by newsreel, oil paintings and folklore. But with this work we have the addition of some surprising instruments that skew the album towards a world where John Barry meets Bela Bartok. And also the trees (AATT) formed during the original post-punk era in rural Worcestershire, an environment that has provided a constant inspiration to a group whose music has often explored the dark underbelly as well as the beauty of the British countryside. They are renowned for their captivating live performances, a unique style of mandolin-like electric guitar, evocative lyrics and dark jazz rhythms - not to mention a creative independence fiercely preserved for over four decades. Back then AATT immediately caught the attention of Robert Smith of The Cure, who invited them to tour with his group on several occasions. Smith was also involved with their early recordings alongside his bandmate Lol Tolhurst, who produced their first records. This longterm friendship and mutual respect was further solidified when AATT were invited to perform at the Robert Smith curated 2018 Meltdown festival in London. This July AATT appear as The Cure's special guests at the Nimes festival. Founded by singer Simon Jones and his guitarist brother Justin, AATT have maintained a continuous presence on the post-punk, and alternative rock scenes worldwide, with a solid fanbase e.g. in Germany.

After being fired by Miles Davis and traveling to Philadelphia to combat his drug addiction in 1957, John Coltrane accepted an invitation from Thelonious Monk to join his quartet. They famously played at New York's Five Spot Cafe and despite the exquisite quality of the band's music, it yielded few recordings and Coltrane's tenure with Monk only lasted six months. Produced by Orrin Keepnews for his label Milestones, the album is compiled from sessions recorded during April, June, and July of 1957. It wasn't released until 1961 though, four years after the sessions took place, and after Coltrane had become a leader and jazz star in his own right.



[c] OFF MINOR [tk 4]


[f] EPISTROPHY [alt tk]
[g] FUNCTIONAL [alt tk]
[h] OFF MINOR [master]

Mrs. GREEN APPLE's fifth original album, "ANTENNA," will be released on vinyl on July 5, 2023! The band is celebrating its 10th anniversary.
This fifth original full-length album includes the theme songs "Soranji" for the film "From the Gulf with Love," "Que Sera Sera" for the drama "Sunday Nights...,"
and a self-cover of "I Am the Strongest," a song written for the film "ONE PIECE FILM RED."

(make of that what you will). FIG DISH were four high school friends: guitarists/ vocalists Rick Ness and Blake Smith, bassist/ vocalist Mike Willison, and drummer Andy Hamilton. In their day (a day that began in the late Winter of 1991 and ended in the early summer of 1998), they were known for catchy songs, memorable (often booze-fueled) live shows, and self-sabotage. In July 1995, FIG DISH's debut That's What Love Songs Often Do was released. And just like that, the band was catapulted from regional obscurity into national obscurity. MTV played the video for the band's first single, "Seeds" and FIG DISH toured the U.S. and Canada relentlessly with bands like Veruca Salt, The Muffs, Letters to Cleo, Juliana Hatfield, Local H, and The Rentals. In 1997, their sophomore album When Shove Goes Back To Push , was sunk by a risque music video for the single "When Shirts Get Tight" Featuring adult film stars that MTV refused to play and the band was dropped by an indifferent Polygram Records in the summer of 1998. FIG DISH returned from hibernation in 2024 with two sold out shows in Chicago and the release of Feels Like The Very First Two Times, the band's first "new" release in 27 years, collecting unreleased tracks recorded in the late 90s. On August 1, 2025, Forge Again Records reissued That's What Love Songs Often Do on vinyl for the first time, 30 years after the original CD release. The officially licensed 2xLP features white vinyl, reworked gatefold jacket art by Wall of Youth and vinyl mastering by Carl Saff. FIG DISH celebrated the 2025 re-release with live shows in Chicago and Milwaukee with old tour-mates Letters to Cleo and capped off the year with shows in Kenosha and Chicago with Local H and Fountains of Wayne.

On one hand, it could be bumming out the people who enjoyed hearing what the band evolved into. On the other hand, nostalgia sells...and daddy needs to eat! So...Nevermind 2! Broken Bones and Bloody Kisses has seen a few vinyl pressings in the past, but landing a physical copy of You Are My Canvas (which was only released on burned CDs, crafted in the Lovat- Frasers' basement) is almost impossible. And ooooooh boy...the pre- demo demo (or PDD) versions of "Sketch Artist Composite" and "The Anatomy of the Journey"? Those puppies - with me (Connor...hi!) on vocals/drums and Jeff playing everything else - were only available on the Y2K version and basically only used to recruit other band members. Smash all these old chestnuts together in one release and see what happens! Why not? It perfectly captures the whole spirit of early BOYS NIGHT OUT. But what title does one bestow upon such a sonic siphonophore? There are 3 versions of "Sketch Artist Composite".

Do you call it Sketch Artist Composite Plus Other Songs? Do you go all in on a lyric- based title like Fuck Us Where We Breathe? Decisions, decisions! Probably best to follow Costa's sage advice and go with Nevermind 2. So, almost exactly two decades after our first show - July 19, 2001 @ The Oakville Pine Room with Sky Came Falling, Unearth, and Rise Over Run - may we present unto you, Nevermind 2! What's old is new again, probably?

JAF Trio emerges on Helsinki's We Jazz Records with their debut LP on 3 July. The young Finnish-Danish band includes saxophonist Adele Sauros (of Superposition), bassist Joonas Tuuri (of Bowman Trio)
and drummer Frederik Emil Bülow. After a string of lauded live performances over the past couple of years (the band was awarded with the "We Jazz Rising Star" accolade at We Jazz Festival in 2017), the trio is now ready to present their first studio work.

Sound-wise, JAF Trio has an approach which brings the band very close to the listener, "loft jazz" style. The sax, bass and drums are right there at the forefront together, creating a remarkably strong presence. The original material of the band has depth and groove alike, at times leaping forward with giant steps, at times calming things down to really stretch time. The music is very melodic and rhythmic, as withnessed by single tracks "Ninth Row of the Fifth Floor" and "Dark Sparkle". There's a sense of playfulness in the repetitive riffing on "Something New" and an air of sombre melancholy on "Shades of Tomorrow".

"JAF Trio" will be released by We Jazz Records on 3 July on vinyl, CD and digital. The vinyl version comes in a heacy-duty "old school" tip-on sleeve. The cover design features the artwork "Red" by Finnish visual artist Maija Lassila.

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.



Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.



Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

“Allergic” was born on a sweltering July afternoon in a half-empty flat in Paris’ 11th arrondissement. With the apartment mid-move and only one bare room left to work in, B.McQueen and Priori turned the stripped-back space into a studio. Mid-session, a friend sent a voice note casually mentioning she was “allergic to wasps”. A moment that felt too good not to sample, giving the track both its title and its playful edge. The result is a chugger with subtle wobbles woven throughout.

“Get Weavin’” took shape in the haze following a heavy night celebrating fabric’s 25th anniversary, an evening where Ben Klock b2b Marcel Dettmann indirectly sparked the creation of the B. McQueen alias itself. Fueled by that post-club momentum, the track later found its signature psychedelic tinge through flute samples contributed by Raphael Weikart.

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of »using the studio as a compositional tool« and recorded and released three Dome albums on their own label in the space of 12 months: »Dome« (July 1980), »Dome 2« (October 1980) and »Dome 3« (October 1981). A final fourth album, »Will You Speak this World: Dome 4« was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

"Ensomheden Vi Deler" ("The Loneliness We Share") is the result of a dialogue between the collages and the music of øjeRum, initiated by IIKKI, between December 2024 and July 2025.

øjeRum is Copenhagen based musician and collage artist Paw Grabowski.

With his collages, the distinctive feature of øjeRum's works is their ability to combine different historical and artistic periods, such as ancient sculpture, medieval frescoes, classical painting and photography, and to make them interact with one another. øjeRum is also renowned for his work as a musician, where he stands out for his surreal, mysterious and poetic universe. His music and art are closely linked. These two sides of the artist's work are constantly intertwined.

In his øjeRum guise, he plucks and strums his treated acoustic instruments, sounding at times like church bells, at times like angelic harp, at time like drones, and suspends the listener in the magic of his melodies. With a deep back-catalogue of releases since 2014 - spanning labels such as eilean rec., Room40, Line, Opal Tapes and many more - he continues exploring his minimal, textural and deeply personal style of ambient music.

The collage and music project "Ensomheden Vi Deler" ("The Loneliness We Share") is an exploration of loneliness, closeness and distance. A meditation on the fragile architectures and hidden shapes of human connection. This is his second release on IIKKI.

Fine Art Book, Ltd. to 500 copies:
Hand numbered & hand stamped / first edition and only edition (no re-print) / hardcover book (15 cm x 21 cm) on Wibalin Natural Cotton White / 80 pages, 35 collages printed on Freelife Vellum 120g/m2 / Swiss Binding / Coloured edges with neon green pantone / Neon Green pantone on front and back cover (logo, slot and circle) / Sticker on front cover.

"I want nothing more than to be a loner," Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It's a startling admission coming from a songwriter who, just a year ago on Dehd's critically acclaimed Water, wrote eloquently about the joys and pains _ more than anything, the necessity _ of love, compassion, and companionship. But then, "admission" isn't really the right word here, given the stridency of Kempf's tone. "Loner" is a declaration. The record ups the ante on Dehd's sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf's songwriting, even as it captures them at their most strident. Balla's guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping "ooh!," pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady's one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache. What makes Flower of Devotion so impressive is how its creation seems to have strengthened its creators, both as individuals and as a unit, even as they've stared down their own limitations. It's also striking just how much fun they seem to be having in the process. "It's okay to be lighthearted in the face of despair," Kempf says. It's a theme that runs through the album, from the opening back-and-forth build of "Desire" to the click-clacking chorus of "Haha," which finds them deflating their own history. Flower of Devotion was recorded in April and August of 2019 in Chicago. It will be released on Fire Talk Records on July 17th 2020.

James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

In March 2025, "On the Love Beach" completed a highly successful solo concert in Shanghai and Beijing with Toushi Naoki.

In 2025, marking the 30th anniversary of their memorable debut album, "On the Love Beach," the band's first three albums will be reissued on CD and vinyl!
All three albums use the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality sound!

This is Nagisa Nite's second album and only live recording, released in 1998. Featuring an acoustic arrangement featuring acoustic guitar and djembe,
the band's imaginary concept is "A Tyrannosaurus Rex from Osaka." This is a realistic documentary of a solo performance held in a dilapidated wooden
apartment building in Tokyo during a scorching heat wave in July 1997, a space that was barely a free space. The band performed in the scorching heat
of July, with the venue lacking air conditioning, forcing them to play with the windows open. This resulted in "ambient music" that occasionally blended with
the sounds of the outside world and the barking of dogs. The band's determination to never perform in a place like that again led them to believe that this
unique and intriguing experience was what made this album so unique.

The environment forced the band members and the audience to remain unwavering, creating an undeniable tension in the small venue, creating a literally
"hot" groove despite the entire performance being acoustic. This experiential live album, the polar opposite of the '71 Nippon Genya Festival, is impossible
to recreate, even for the band members themselves, including the immersive recording.

The 1998 album was only available on CD, but this time, the album is available on vinyl for the first time on a 2LP!
Remastered using the original master DAT tape, it recreates the "hot" and "ambient music" atmosphere even more realistically. T
akeda's cover of Midori Mako's "Yasashii Nipponjin" is also a must-listen!

Two albums from "SATELLITE LOVERS" are finally being reissued!

Two albums from the one-woman, two-man unit "SATELLITE LOVERS" are finally being reissued!
They debuted as an indie band in 1994, creating a buzz with their "Shibuya-kei folky acoustic soul sound." In 1995, they debuted on
Double O Records, a new label within the Sony Music Group. After releasing three albums, they went on hiatus (effectively, only for about a year).
SATELLITE LOVERS' music has been a hit in the US and Canada in recent years!
Following official subscription streaming in March and a CD release in July of this year, they're finally being released on LP!

Auf 500 Stück limitiert und handnummeriert. L.B. STEEL und seine Brigade Steelforce werden Opfer mysteriöser Anschläge. Schließlich haben es sogar die engsten Verbündeten auf die drei Metal Detektive abgesehen und es wird klar: Dahinter steckt etwas Größeres. Die Spur führt zu einem manipulativen Schlagersong, der die Menschheit in die mentale Apokalypse treibt. Nur eins kann diesen Wahnsinn jetzt noch stoppen: Heavy Metal. mit: Reiner Schöne, Bernd Egger, Steffen Lehmann, Björn Jung, Cristina do Rego, Kaja Schmidt-Tychsen, Bernd Reheuser, André Dostal, Inka Lioba Brettschneider, Julia Augustin, DitoMido, Lars Korten, Henning Heup Special Guest: Thomas Anders & Marti Fischer

[m] b5 Sometimes [stories Of A Stranger Sessions]
[n] b6 Heard The World [live At Pnc Bank Arts Center July 22 2005]
[o] b7 Lay Down [live At Pnc Bank Arts Center July 22 2005]
[p] b8 About Mr. Brown [live At Pnc Bank Arts Center July 22 2005]

Coke Bottle Clear vinyl. Jun 25, 2021 (EST) CD MRG755cd 673855075525 $6.00 Jun 25, 2021 (EST) LP - Black MRG755lp 673855075518 $11.00 Dec 02, 2022 (EST) LP - Coke Bottle Clear MRG755lp-dlx-C1 673855075556 $12.50 TOTAL Quietly Blowing It was written and arranged by Taylor in his home studio_his 8' x 10' sanctuary packed floor to ceiling with books, records, and old guitars_as he watched the chaotic world spin outside his window. "Writing became a daily routine," he explains, "and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs." Between March and June, Taylor wrote and recorded upwards of two dozen songs_in most cases playing all of the instruments himself_before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. "We all needed to be making that music together," he recalls. "We've all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown."

'In collaboration with the children of Nico Kasanda, better known as Docteur Nico, Planet Ilunga proudly presents an anthology dedicated to African Fiesta Sukisa, available as a 3LP set and a digital release with bonus songs. This release is the result of many years of preparations and was realized in close partnership with Liliane Kasanda, Nico’s eldest daughter. Marking forty years since his passing, we felt that the year 2025 was the right time to honor Docteur Nico’s legacy with this original collection.
'Almost all of the African Fiesta Sukisa songs were released on Nico’s Sukisa label which translates in Lingala for “the final accomplishment”. The music on Sukisa, crafted by Nico and legendary vocalists such as Chantal, Sangana, Apôtre, Mizele, Lessa Lassan and Josky, embodies the essence of that powerful phrase with genius, class and depth. The label ran between 1966 and 1975 and released approximately 280 songs. Ngoma also issued the group between 1967 and 1971 and, in addition, reissued material from the Sukisa label. Many of these songs have become part of the collective memory of Congolese society and are still heard, discussed, and analyzed daily across digital platforms worldwide, as well as on numerous Congolese radio and TV stations.
'The album we put together features some of Nico’s signature songs alongside never before reissued tracks from the Sukisa catalog. It furthermore contains a large booklet with song commentary, testimonial interviews from well-known musicians, journalists, fans and Nico’s entourage, besides never before published photography about his personal and musical life.
'Alastair Johnston, author of the book ‘A Discography of Docteur Nico’ and longstanding Planet Ilunga collaborator, designed a stylish booklet and cover using all our collected material. Audifax Bemba, longtime admirer, compiler and connoisseur of Nico’s music, and the author of most of the song commentary in our accompanying booklet, offers his portrait of Docteur Nico:
“After displaying technical virtuosity with African Jazz, expert and accomplished guitar with African Fiesta, which musicologist Sylvain Bemba described as a dream guitar, Nico Kasanda was consecrated ‘dieu de la guitare’ by the public in the late sixties. With his band African Fiesta Sukisa, Docteur Nico displays his wide palette of unusual sounds. While exploring the Hawaiian guitar with its clear, airy, plangent, psychedelic effluvia, he continues to replicate the piano comping technique, and adds two missing strings to his bow: a simulation of the sanza (likembé or thumb piano), whose sounds he reproduces right down to the noisemakers of the tiny tin rings, on the one hand, and the sounds of the Luba balafon on the other. The right note, in the right place, at the right time, is the triptych on which Nico Kasanda’s playing is based, a note dressed in the perfect sound. A guitar of pure emotion. With African Fiesta Sukisa, his playing takes a ‘Chopin-esque’ turn, sending out more notes in a sublime adagio. The true artist is the one who simplifies everything. Docteur Nico is a genius of our time, whose style makes him the supreme exponent of the most important guitar school in Congolese music. He is recognized by his peers as the greatest African solo guitarist of all time. Sculpting sound in a tireless quest for beauty, Nico Kasanda has sublimated the guitar throughout his career.”






























[xd] Kamulangu [Outro] (Dr. Kasanda – Sukisa 135) Folklore Baluba

,Amusing the Amazing" ist eine EP mit vier Songs von der amerikanischen Stoner-Rock-Band Slo Burn, die ursprünglich 1997 von Malicious Vinyl rausgebracht wurde. Die Band wurde von Sänger John Garcia, früher bei Kyuss, angeführt und bestand aus Gitarrist Chris Hale, Bassist Damon Garrison und Schlagzeuger Brady Houghton. Die EP wurde von Slo Burn und Chris Goss zusammen produziert. Die EP wird gerade neu gemastert und zum ersten Mal auf 12-Zoll-Vinyl gepresst, mit Audio auf der einen Seite und einer speziellen Gravur auf der anderen.

With over 1 million social media followers!!
Idol project "fleuЯR" by Ichika Matsumoto and Sumire Kuramoto.
The divine song "Suki Sugiru" will be released on a 7-inch record!

Ichika Matsumoto and Sumire Kuramoto's idol project "fleuЯR" launched in earnest with a digital release in May 2025 and a CD release in July.

Once you hear it, you'll be hooked on these sublime melodies!
The miraculous, classic idol pop song "Suki Sugiru" and the killer tune "Ashita Kumori no Chi" (After Clouds Tomorrow), featuring the perfect interplay
between the two vocalists, are finally available on a 7-inch record!
Lyrics and music by Taisei Osaka, who has written songs for artists such as SMAP.
Arrangement by Seiji Muto, who has worked on numerous hits, including AKB48's "Koi Suru Fortune Cookie"
The ultimate idol pop song from a team of incredible writers!

Legendary Metal Band STRYPER Announces Long-Awaited Christmas Album 'The Greatest Gift Of All' out November 21 via Frontiers Music Srl Iconic and long-running Christian metal band STRYPER is set to release their long-anticipated Christmas album, The Greatest Gift Of All, on November 21st via Frontiers Music Srl. Fans have been requesting a holiday record for years—and now, the wait is finally over. The celebration begins this July with the release of the first single, "Still the Light". STRYPER's current lineup features original members Michael Sweet, Robert Sweet, and Oz Fox, alongside bassist Perry Richardson. Together, they continue to craft what they believe is some of the most powerful and inspiring music of their career. The band recently wrapped up a successful world tour in support of their latest studio album, When We Were Kings. The tour spanned the USA, Europe, and South America, and marked the band’s 40th anniversary—a milestone celebrated with a dynamic setlist featuring classic hits, fan favorites from the newer era, outfit changes, and an upgraded stage production. As STRYPER continues to evolve, they remain a cornerstone of Christian rock and metal, blending faith and heavy music for four decades. Looking ahead, the band is also working on a Kickstarter-funded documentary directed by Chris Atkins, offering a behind-the-scenes look at their remarkable journey. With over 10 million albums sold worldwide and several Billboard Top 40 hits, STRYPER shows no signs of slowing down as they continue to write, record, and perform for their global fanbase.

The smash hit album "Glass Heart" is now available as a limited edition vinyl record!

The Netflix series "Glass Heart" has just begun streaming worldwide. The band "TENBLANK," featured in this passionate youthful musical love story, has
released their debut album, "Glass Heart," in conjunction with the drama's release.
TENBLANK is a rock band formed by four members: the solitary genius musician Fujitani Naoki (played by Sato Takeru), college student drummer Saijo Akane
(played by Miyazaki Yu), hardworking and charismatic guitarist Takaoka Hisashi (played by Machida Keita), and music-obsessed pianist Sakamoto Kazushi
(played by Shison Jun).
The album was released digitally alongside the drama's release on July 31st, and was released on CD the following day, August 1st.
Glass Heart, which attracted attention thanks to the contributions of a stellar lineup of composers including Noda Yojiro (RADWIMPS) and Yaffle, has dominated
charts not only in Japan but also in other Asian countries, creating a global buzz.
Now, this smash hit album "Glass Heart" will be released as a limited edition vinyl record. Experience TENBLANK's music in a new way with the warm texture
and depth of sound that only analog can provide.

To celebrate its 25th Anniversary, Familiar to Millions is re-released on 2CD and 3LP formats with the vinyl being made available for the first time since its original release in 2000. Released on November 13th, 2000, Familiar to Millions was Oasis’ first live album and was recorded at their landmark Wembley Stadium show in July that year.

The producers of the new hit Broadway musical BUENA VISTA SOCIAL CLUB and WORLD CIRCUIT RECORDS present the show’s Original Broadway Cast Recording, to be released in July 2025, recording produced by Dean Sharenow and David Yazbek. Step into the heart of Cuba, beyond the glitz of the Tropicana, to a place where blazing trumpets and sizzling guitars set the dance floor on fire. Inspired by true events, the new Broadway musical BUENA VISTA SOCIAL CLUB™ brings the GRAMMY® Award-winning album to thrilling life—and tells the story of the legends who lived it. A world-class Afro-Cuban band is joined by a sensational cast in this unforgettable tale of survival, second chances, and the extraordinary power of music.

The BUENA VISTA SOCIAL CLUB™ Musical officially launched at Broadway’s Gerard Schoenfeld Theater in March 2025 to huge critical acclaim and has been nominated for 10 TONY AWARDS. The show is produced on Broadway by Orin Wolf, John Styles, Barbara Broccoli, Atlantic Theater Company, Luis Miranda, LaChanze and John Leguizamo with Executive Producer Allan Williams, with Nick Gold (World Circuit) and Juan de Marcos González (Buena Vista Social Club) acting as consultants on the production.

Hikmah is an astonishing solo piano work from virtuosic and far-ranging
sound scientist; deep and compassionate thinker and musical treasure: Pat
Thomas
Pat Thomas was Born in Oxford, UK to Antiguan parents on July 27, 1960.
Interestingly, just over 4 months separate his birth to that of fellow modern piano
master Matthew Shipp (Dec 7, 1960) - whose The Piano Equation was TAO Forms
inaugural release. Thomas is most certainly among the Black Mystery School Pianists
of which Shipp elucidates in the title essay of his recently published first book.
Eight thoroughly focused improvised and otherwise compositions recorded at Fish
Factory studio in London. The album's title, Hikmah, means "wisdom" in Arabic. The
title is also presented in two different forms of Arabic calligraphic script on the cover
artwork. This album brings the information. The vibrantly living jazz tradition and new
modes of expression in abundance are brought forth from a lifetime of work and a
decades long devotion to Sufism, understanding that the practice and performance of
this music is an elemental form of spiritual practice. As William Parker writes in the
liner notes, "the music becomes the prophet and the prayer all in one gesture." And,
"If you haven't yet heard the music of Pat Thomas, get hip to it quickly."
Attuned American audiences are most likely to have become familiar with Pat
Thomas through his work with the quartet [Ahmed] , whom over recent years have
amazed with their mesmeric, long-form explorations on the compositions of Ahmed
Abdul-Malik, and more recently, Thelonious Monk. Their debut US performance took
place in March 2025, and TAO Forms were lucky members of the rapt audience at
Roulette in Brooklyn that night; the group flew to Knoxville the next day to perform to
an equally rapt audience at Big Ears.
Available on 6- panel digipak CD printed on heavyweight board, with liner notes by
William Parker and LP with insert featuring liner notes by William Parker & Pat
Thomas Discography + download card. Ltd edition of 500.

Repress!

200 COPIES ONLY

Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.

Until The End (The Lost Album) features recordings made by Wil Malone throughout 1970, possibly intended as a follow-up to Wil Malone – Wil Malone, which was recorded in mid-1969 and mastered for release on Fontana Records on July 5, 1969.
Recently unearthed from the Morgan Blue Town tape vaults, these tracks offer a compelling mix of ’60s pop and bubblegum, diverging from the original album’s string-heavy, progressive-psych sound. All the material comprises either demos or finished masters, recorded over several months. With the exception of the brass parts — performed by session musicians — all instruments were played by Wil Malone himself.
It’s a shame the debut didn’t achieve greater commercial success, as it might have brought these follow-up recordings to light much earlier, back in the 1970s.

Singer/DJ Natsu Summer's new single, due for release on Wednesday, July 30th, is already available as a 7-inch!
"Beach Girl" a new track themed around the ocean and summer, was written and arranged by her main producer, Kunimondo Takiguchi (Ryusenkei),
a trusted figure in the city pop boom!

"Beach Girl" is a lovers' reggae track that draws on the city pop reggae tradition, but is perfect for a beachside summer.
The mellow sound, Natsu Summer's ocean-worthy vocals, and the exquisitely soothing dub mix by e-mura create a truly exquisite finish!

■Natsu Summer continues to release original albums, dub albums, mix CDs, and more. Be sure to listen to this summer's best lovers' reggae.

After much anticipation, Dave has returned to announce his eagerly awaited third album – The Boy Who Played the Harp to be released on October 24th

Widely regarded as the most exciting storyteller of his generation, the announcement marks the first taste of a new chapter from the multi award-winning musician behind the critically acclaimed No.1 albums Psychodrama and We’re All Alone in This Together.

The Boy Who Played the Harp will be the first release from Dave since 2023, when self-produced Central Cee collaboration ‘Sprinter’ broke the record for the longest running #1 rap record in UK chart history, succeeding his 2022 single ‘Starlight’ which set the record for longest-running No.1 solo UK track, and the first UK No.1 by a sole writer and producer in 8 years. The record-breaking release of We’re All Alone In This Together in July 2021 confirmed Dave as one of the most established artists of our time, with the biggest first week sales across all genres for

When Radial Gaze meets Nicola Kubebe, the result is Iron Pinky Toad — a title that sounds either like a secret kung-fu move or a lost cartoon book. But don’t be fooled — this one hits hard.

The long-awaited collab brings three original tracks — Phantom Limb, Lights of Phoenix and the title cut Iron Pinky Toad — that effortlessly bridge the gap between slow-burning tribal techno and the raw pulse of new beat nested into an early techno nutshell. Imagine dancing barefoot in a ritual under a disco eclipse — you’re getting close.

To seal the record, Playground Records boss Martin Noise steps in alongside rising sensation Anastasia Zems, pushing the release into full-blown dancefloor sorcery. The groove is deep, the bass is sweaty, and the toad… well, the toad is on fire !

Dropping Friday, July 18, 2025, via THISBE Recordings — available on vinyl and digital. Spin it, stream it, or whisper its name into the smoke at 3AM — either way, the dancefloor won’t know what hit it.

Let the amphibian groove begin.

Artwork by Christoffer Budtz